Hard to Find may refer to:

• Hard To Find Records, a record label that began in Birmingham, England in 1991
• "Hard to Find", a song by The American Analog Set from their 2003 album Promise of Love

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Bessie Smith
1936 photograph by Carl Van Vechten
Background information
Born	(1894-04-15)April 15, 1894 Chattanooga, Tennessee, United States
Died	September 26, 1937(1937-09-26) (aged 43) Clarksdale, Mississippi, United States
Genres	Blues, Jazz
Occupations	Singer, actress
Instruments	Vocals
Years active	1912–1937
Labels	Columbia
Associated acts	Ma Rainey, Alberta Hunter, Ethel Waters

Bessie Smith (April 15, 1894 – September 26, 1937) was an American blues singer.

Nicknamed The Empress of the Blues, Smith was the most popular female blues singer of the 1920s and 1930s.^[1] She is often regarded as one of the greatest singers of her era and, along with Louis Armstrong, a major influence on subsequent jazz vocalists.^[2]

Life[link]

The 1900 census indicates that Bessie Smith was born in Chattanooga, Tennessee in July 1892. However, the 1910 census recorded her birthday as April 15, 1894, a date that appears on all subsequent documents and was observed by the entire Smith family. Census data also contributes to controversy about the size of her family. The 1870 and 1880 censuses report three older half-siblings, while later interviews with Smith's family and contemporaries did not include these individuals among her siblings.

Bessie Smith was the daughter of Laura (née Owens) and William Smith. William Smith was a laborer and part-time Baptist preacher (he was listed in the 1870 census as a "minister of the gospel", in Moulton, Lawrence, Alabama.) He died before his daughter could remember him. By the time she was nine, she had lost her mother and a brother as well. Her older sister Viola took charge of caring for her siblings.^[3]

To earn money for their impoverished household, Bessie Smith and her brother Andrew began busking on the streets of Chattanooga as a duo: she singing and dancing, he accompanying her on guitar. Their favorite location was in front of the White Elephant Saloon at Thirteenth and Elm streets in the heart of the city's African-American community.

In 1904, her oldest brother, Clarence, covertly left home by joining a small traveling troupe owned by Moses Stokes. "If Bessie had been old enough, she would have gone with him," said Clarence's widow, Maud. "That's why he left without telling her, but Clarence told me she was ready, even then. Of course, she was only a child."^[4]

In 1912, Clarence returned to Chattanooga with the Stokes troupe. He arranged for its managers, Lonnie and Cora Fisher, to give Smith an audition. She was hired as a dancer rather than a singer, because the company also included the unknown singer, Ma Rainey. Smith eventually moved on to performing in various chorus lines, making the "81" Theater in Atlanta her home base. There were times when she worked in shows on the black-owned T.O.B.A Theater Owners Booking Association circuit. She would rise to become its biggest star after signing with Columbia Records.

By 1923, when she began her recording career, Smith had taken up residence in Philadelphia. There she met and fell in love with Jack Gee, a security guard whom she married on June 7, 1923, just as her first record was released. During the marriage—a stormy one, with infidelity on both sides—Smith became the highest paid black entertainer of the day, heading her own shows, which sometimes featured as many as 40 troupers, and touring in her own railroad car. Gee was impressed by the money, but never adjusted to show business life, or to Smith's bisexuality. In 1929, when she learned of his affair with another singer, Gertrude Saunders, Bessie Smith ended the relationship, although neither of them sought a divorce.

Smith eventually found a common-law husband in an old friend, Richard Morgan, who was Lionel Hampton's uncle and the antithesis of her husband. She stayed with him until her death.^[5]

Career[link]

Portrait of Bessie Smith by Carl Van Vechten

All contemporary accounts indicate that while Rainey did not teach Smith to sing, she probably helped her develop a stage presence.^[6] Smith began forming her own act around 1913, at Atlanta's "81" Theater. By 1920, Smith had established a reputation in the South and along the Eastern Seaboard.

In 1920, sales figures for "Crazy Blues," an Okeh Records recording by singer Mamie Smith (no relation) pointed to a new market. The recording industry had not directed its product to blacks, but the success of the record led to a search for female blues singers. Bessie Smith was signed by Columbia Records in 1923 and her first session for Columbia was February 15, 1923. For most of 1923, her records were issued on Columbia's regular A- series; when the label decided to establish a "race records" series, Smith's "Cemetery Blues" (September 26, 1923) was the first issued.

She scored a big hit with her first release, a coupling of "Gulf Coast Blues" and "Downhearted Blues", which its composer Alberta Hunter had already turned into a hit on the Paramount label. Smith became a headliner on the black T.O.B.A. circuit and rose to become its top attraction in the 1920s.^[7] Working a heavy theater schedule during the winter months and doing tent tours the rest of the year (eventually traveling in her own railroad car), Smith became the highest-paid black entertainer of her day.^[8] Columbia nicknamed her "Queen of the Blues," but a PR-minded press soon upgraded her title to "Empress".

Smith was gifted with a powerfully strong voice that recorded very well from her first record, made during the time when recordings were made acoustically. With the coming of electrical recording (circa 1925), the sheer power of her voice was even more evident.

She made 160 recordings for Columbia, often accompanied by the finest musicians of the day, most notably Louis Armstrong, James P. Johnson, Joe Smith, Charlie Green and Fletcher Henderson.

Broadway[link]

Smith's career was cut short by a combination of the Great Depression,which nearly put the recording industry out of business, and the advent of "talkies", which spelled the end for vaudeville. She never stopped performing, however. While the days of elaborate vaudeville shows were over, Smith continued touring and occasionally singing in clubs. In 1929, she appeared in a Broadway flop called Pansy, a musical in which top critics said she was the only asset.

Film[link]

In 1929, Smith made her only film appearance, starring in a two-reeler titled St. Louis Blues, based on W. C. Handy's song of the same name. In the film, directed by Dudley Murphy and shot in Astoria, she sings the title song accompanied by members of Fletcher Henderson's orchestra, the Hall Johnson Choir, pianist James P. Johnson and a string section—a musical environment radically different from any found on her recordings.

Swing era[link]

In 1933, John Hammond, who also mentored Billie Holiday, asked Smith to record four sides for Okeh (which had been acquired by Columbia Records in 1925). He claimed to have found her in semi-obscurity, working as a hostess in a speakeasy on Philadelphia's Ridge Avenue.^[9] Bessie Smith worked at Art's Cafe on Ridge Avenue, but not as a hostess and not until the summer of 1936. In 1933, when she made the Okeh sides, Bessie was still touring. Hammond was known for his selective memory and gratuitous embellishments.^[10]

Bessie Smith was paid a non-royalty fee of $37.50 for each selection and these Okeh sides, which were her last recordings. Made November 24, 1933, they serve as a hint of the transformation she made in her performances as she shifted her blues artistry into something that fit the "swing era". The relatively modern accompaniment is notable. The band included such swing era musicians as trombonist Jack Teagarden, trumpeter Frankie Newton, tenor saxophonist Chu Berry, pianist Buck Washington, guitarist Bobby Johnson, and bassist Billy Taylor. Benny Goodman, who happened to be recording with Ethel Waters in the adjoining studio, dropped by and is barely audible on one selection. Hammond was not entirely pleased with the results, preferring to have Smith revisit her old blues groove. "Take Me for a Buggy Ride" and "Gimme a Pigfoot (And a Bottle of Beer)", both written by Wesley Wilson, continue to be ranked among her most popular recordings.^[11] Billie Holiday, who credited Smith as her major influence along with Louis Armstrong, would go on to record her first record for Columbia three days later under the same band personnel.

Death[link]

On September 26, 1937, Smith was critically injured in a car accident while traveling along U.S. Route 61 between Memphis, Tennessee, and Clarksdale, Mississippi. Her lover, Richard Morgan, was driving and, probably mesmerized by the long stretch of straight road, misjudged the speed of a slow-moving truck ahead of him. Tire marks at the scene suggested that Morgan tried to avoid the truck by driving around its left side, but he hit the rear of the truck side-on at high speed. The tailgate of the truck sheared off the wooden roof of Smith's old Packard. Smith, who was in the passenger seat, probably with her right arm or elbow out the window, took the full brunt of the impact. Morgan escaped without injuries.

The first people on the scene were a Memphis surgeon, Dr. Hugh Smith (no relation), and his fishing partner Henry Broughton. In the early 1970s, Dr. Smith gave a detailed account of his experience to Bessie's biographer Chris Albertson. This is the most reliable eyewitness testimony about the events surrounding Bessie Smith's death.

After stopping at the accident scene, Dr. Smith examined Bessie Smith, who was lying in the middle of the road with obviously severe injuries. He estimated she had lost about a half-pint of blood, and immediately noted a major traumatic injury to her right arm; it had been almost completely severed at the elbow.^[12] But Dr. Smith was emphatic that this arm injury alone did not cause her death. Although the light was poor, he observed only minor head injuries. He attributed her death to extensive and severe crush injuries to the entire right side of her body, consistent with a "sideswipe" collision.^[13]

Broughton and Dr. Smith moved the singer to the shoulder of the road. Dr. Smith dressed her arm injury with a clean handkerchief and asked Broughton to go to a house about 500 feet off the road to call an ambulance.

By the time Broughton returned approximately 25 minutes later, Bessie Smith was in shock. Time passed with no sign of the ambulance, so Dr. Smith suggested that they take her into Clarksdale in his car. He and Broughton had almost finished clearing the back seat when they heard the sound of a car approaching at high speed. Dr. Smith flashed his lights in warning, but the oncoming car failed to stop and plowed into the doctor's car at full speed. It sent his car careering into Bessie Smith's overturned Packard, completely wrecking it. The oncoming car ricocheted off Dr. Smith's car into the ditch on the right, barely missing Broughton and Bessie Smith.^[14]

The young couple in the new car did not have life-threatening injuries. Two ambulances arrived on the scene from Clarksdale; one from the black hospital, summoned by Mr. Broughton, the other from the white hospital, acting on a report from the truck driver, who had not seen the accident victims.

Bessie Smith was taken to Clarksdale's G.T. Thomas Afro-American Hospital, where her right arm was amputated. She died that morning without regaining consciousness. After Smith's death, an often repeated but now discredited story emerged about the circumstances; namely, that she had died as a result of having been refused admission to a "whites only" hospital in Clarksdale. Jazz writer/producer John Hammond gave this account in an article in the November 1937 issue of Down Beat magazine. The circumstances of Smith's death and the rumor promoted by Hammond formed the basis for Edward Albee's 1959 one-act play The Death of Bessie Smith.^[15]

"The Bessie Smith ambulance would not have gone to a white hospital, you can forget that." Dr. Smith told Albertson. "Down in the Deep South cotton country, no ambulance driver, or white driver, would even have thought of putting a colored person off in a hospital for white folks."^[16]

Smith's death certificate

Smith's funeral was held in Philadelphia on Monday, October 4, 1937. Her body was originally laid out at Upshur's funeral home. As word of her death spread through Philadelphia's black community, the body had to be moved to the O.V. Catto Elks Lodge to accommodate the estimated 10,000 mourners who filed past her coffin on Sunday, October 3.^[17] Contemporary newspapers reported that her funeral was attended by about seven thousand people. Far fewer mourners attended the burial at Mount Lawn Cemetery, in nearby Sharon Hill. Gee thwarted all efforts to purchase a stone for his estranged wife, once or twice pocketing money raised for that purpose.^[18]

The grave remained unmarked until August 7, 1970, when a tombstone—paid for by singer Janis Joplin and Juanita Green, who as a child had done housework for Smith—was erected.^[19]

Dory Previn wrote a song of Janis Joplin and the tombstone called "Stone for Bessie Smith" on her album Mythical Kings and Iguanas.

The Afro-American Hospital, now the Riverside Hotel in Clarksdale, was the site of the dedication of the fourth historic marker on the Mississippi Blues Trail.^[20]

Selective awards and recognitions[link]

Grammy Hall of Fame[link]

Recordings of Bessie Smith were inducted into the Grammy Hall of Fame. This special Grammy Award was established in 1973 to honor recordings that are at least 25 years old and that have "qualitative or historical significance."

National Recording Registry[link]

In 2002 Smith's recording of the single, "Downhearted Blues", was included by the National Recording Preservation Board in the Library of Congress' National Recording Registry.^[22] The board selects songs on an annual basis that are "culturally, historically, or aesthetically significant."^[23]

"Downhearted Blues" was included in the list of Songs of the Century by the Recording Industry of America and the National Endowment for the Arts in 2001. It is in the Rock and Roll Hall of Fame as one of the 500 songs that shaped rock 'n' roll.^[24]

Inductions[link]

U.S. Postage Stamp

Digital remastering[link]

Technical faults in the majority of her original gramophone recordings—especially variations in recording speed, which raised or lowered the apparent pitch of her voice, misrepresented the "light and shade" of her phrasing, interpretation and delivery. They altered the apparent key of her performances (sometimes raised or lowered by as much as a semitone.) The fact that the "centre hole" in some of the master recordings had not been in the true middle of the master disc meant that there were wide variations in tone, pitch, key and phrasing, as commercially released records revolved around the spindle.

Given those historic limitations, the current digitally remastered versions of her work deliver significant, very positive differences in the sound quality of Smith's performances. Some critics believe that the American Columbia Records compact disc releases are somewhat inferior to subsequent transfers made by the late John R.T. Davies for Frog Records.^{[citation needed]}

Popular culture[link]

• The 1948 short story "Blue Melody" by J.D. Salinger and the 1959 play The Death of Bessie Smith by Edward Albee both deal with Smith's death.
• Jack Peñate's song 'Learning Lines' off his first album refers to 'Bessie Smith, sings the blues' in its chorus.

References[link]

Further reading[link]

• Albertson, Chris, Liner notes, Bessie Smith: The Complete Recordings, Volumes 1 – 5, Sony Music Entertainment, 1991.
• Albertson, Chris, Bessie (Revised and Expanded Edition), Yale University Press (New Haven), 2003. ISBN 0-300-09902-9.
• Barnet, Andrea (2004). All-Night Party: The Women of Bohemian Greenwich Village and Harlem, 1913–1930. Chapel Hill, NC: Algonquin Books. ISBN 1-56512-381-6. 
• Brooks, Edward, The Bessie Smith Companion: A Critical and Detailed Appreciation of the Recordings, Da Capo Press (New York), 1982. ISBN 0-306-76202-1.
• Davis, Angela Y., Blues Legacies and Black Feminism: Gertrude "Ma" Rainey, Bessie Smith, and Billie Holiday, Pantheon Books (New York), 1998. ISBN 0-679-45005-X.
• Eberhardt, Clifford, Out of Chattanooga, Ebco (Chattanooga), 1994.
• Feinstein, Elaine, Bessie Smith, Viking (New York), 1985, ISBN 0-670-80642-0.
• Grimes, Sara, Backwaterblues: In Search of Bessie Smith, Rose Island Pub. (Amherst), 2000, ISBN 0-9707089-0-4.
• Kay, Jackie, Bessie Smith, Absolute (New York), 1997. ISBN 1-899791-55-8.
• Manera, Alexandria, Bessie Smith, Raintree (Chicago), 2003. ISBN 0-7398-6875-6.
• Martin, Florence, Bessie Smith, Editions du Limon (Paris), 1994. ISBN 2-907224-31-X.
• Oliver, Paul, Bessie Smith, Cassell (London), 1959.
• Palmer, Tony, All You Need is Love: The Story of Popular Music, Grossman Publishers/Viking Press (New York), 1976. ISBN 0-670-11448-0.
• Welding, Pete; Byron, Tony (eds.), Bluesland: Portraits of Twelve Major American Blues Masters, Dutton (New York), 1991. ISBN 0-525-93375-1.

External links[link]

• Interview with Bessie Smith biographer Chris Albertson
• Bessie Smith at Find A Grave Memorial
• Bessie Smith discography at Discogs

Mary Flannery O'Connor (March 25, 1925 – August 3, 1964) was an American novelist, short-story writer and essayist. An important voice in American literature, O'Connor wrote two novels and 32 short stories, as well as a number of reviews and commentaries. She was a Southern writer who often wrote in a Southern Gothic style and relied heavily on regional settings and grotesque characters. O'Connor's writing also reflected her own Roman Catholic faith, and frequently examined questions of morality and ethics.

Her Complete Stories won the 1972 U.S. National Book Award for Fiction^[2] and was named the "Best of the National Book Awards" by internet visitors in 2009.^[a]

Biography[link]

Flannery O'Connor was born on March 25, 1925, in Savannah, Georgia, the only child of Edward F. O'Connor and Regina Cline. O'Connor described herself as a "pigeon-toed child with a receding chin and a you-leave-me-alone-or-I'll-bite-you complex."^[3] When O'Connor was six, she experienced her first brush with celebrity status. The Pathé News people filmed "Little Mary O'Connor" with her trained chicken, and showed the film around the country. She said, "When I was six I had a chicken that walked backward and was in the Pathé News. I was in it too with the chicken. I was just there to assist the chicken but it was the high point in my life. Everything since has been anticlimax.”^[4] In 1937 O'Connor's father was diagnosed with the disease systemic lupus erythematosus. The disease led to his eventual death on February 1, 1941, and the 15-year-old Flannery was left devastated.^[5]

Flannery O'Connor with Arthur Koestler (left) and Robie Macauley at the University of Iowa in 1947. Photo by C. Cameron Macauley.

O'Connor attended the Peabody Laboratory School, from which she graduated in 1942. She entered Georgia State College for Women (now Georgia College & State University), in an accelerated three-year program, and graduated in June 1945 with a Social Sciences degree. In 1946, she was accepted into the prestigious Iowa Writers' Workshop at the University of Iowa, where she first went to study journalism. While there she got to know several important writers and critics who lectured or taught in the program, among them Robert Penn Warren, John Crowe Ransom, Robie Macauley, Austin Warren and Andrew Lytle. Lytle, for many years editor of the Sewanee Review, was one of the earliest admirers of O'Connor's fiction. He later published several of her stories in the Sewanee Review, as well as critical essays on her work. Workshop director Paul Engle was the first to read and comment on the initial drafts of what would become Wise Blood.

In 1949, O'Connor met and eventually accepted an invitation to stay with Robert Fitzgerald (the well-known translator of the classics) and his wife, Sally, in Redding, Connecticut.^[b]

In 1951, like her father, she was diagnosed with systemic lupus erythematosus, and subsequently returned to her ancestral farm, Andalusia, in Milledgeville, Georgia. Although expected to live only five more years, she managed fourteen. At Andalusia, she raised and nurtured some 100 peafowl. Fascinated by birds of all kinds, she raised ducks, hens, geese, and any sort of exotic bird she could obtain, while incorporating images of peacocks into her books. She describes her peacocks in an essay entitled "The King of the Birds." Despite her sheltered life, her writing reveals an uncanny grasp of the nuances of human behavior. She was a devout Catholic living in the "Bible Belt," the Protestant South. She collected books on Catholic theology and at times gave lectures on faith and literature, traveling quite far despite her frail health. She also maintained a wide correspondence, including such famous writers as Robert Lowell and Elizabeth Bishop. She never married, relying for companionship on her correspondence and on her close relationship with her mother, Regina Cline O'Connor.

O'Connor completed more than two dozen short stories and two novels while battling lupus. She died on August 3, 1964, at the age of 39, of complications from lupus, at Baldwin County Hospital and was buried in Milledgeville, Georgia, at Memory Hill Cemetery. Her mother died in 1997.

Career[link]

Regarding her emphasis of the grotesque, O'Connor said: "anything that comes out of the South is going to be called grotesque by the northern reader, unless it is grotesque, in which case it is going to be called realistic."^[6] Her texts usually take place in the South and revolve around morally flawed characters, while the issue of race often appears in the background. One of her trademarks is foreshadowing, giving a reader an idea of what will happen far before it happens. Most of her works feature disturbing elements, though she did not like to be characterized as cynical. "I am tired of reading reviews that call A Good Man brutal and sarcastic," she writes. "The stories are hard but they are hard because there is nothing harder or less sentimental than Christian realism... when I see these stories described as horror stories I am always amused because the reviewer always has hold of the wrong horror."^[7]

Her two novels were Wise Blood (1952) and The Violent Bear It Away (1960). She also published two books of short stories: A Good Man Is Hard to Find (1955) and Everything That Rises Must Converge (published posthumously in 1965).

She felt deeply informed by the sacramental, and by the Thomist notion that the created world is charged with God. Yet she would not write apologetic fiction of the kind prevalent in the Catholic literature of the time, explaining that a writer's meaning must be evident in his or her fiction without didacticism. She wrote ironic, subtly allegorical fiction about deceptively backward Southern characters, usually fundamentalist Protestants, who undergo transformations of character that to O'Connor's thinking brought them closer to the Catholic mind. The transformation is often accomplished through pain, violence, and ludicrous behavior in the pursuit of the holy. However grotesque the setting, she tried to portray her characters as they might be touched by divine grace. This ruled out a sentimental understanding of the stories' violence, as of her own illness. O'Connor wrote: "Grace changes us and change is painful." She also had a deeply sardonic sense of humor, often based in the disparity between her characters' limited perceptions and the awesome fate awaiting them. Another source of humor is frequently found in the attempt of well-meaning liberals to cope with the rural South on their own terms. O'Connor uses such characters' inability to come to terms with race, poverty, and fundamentalism, other than in sentimental illusions, as an example of the failure of the secular world in the twentieth century.

However, several stories reveal that O'Connor was familiar with some of the most sensitive contemporary issues that her liberal and fundamentalist characters might encounter. She addressed the Holocaust in her famous story "The Displaced Person," and racial integration in "Everything that Rises Must Converge." O'Connor's fiction often included references to the problem of race in the South; occasionally, racial issues come to the forefront, as in "The Artificial Nigger," "Everything that Rises Must Converge," and "Judgment Day," her last short story and a drastically rewritten version of her first published story, "The Geranium." Fragments exist of an unfinished novel tentatively titled Why Do the Heathen Rage? that draws from several of her short stories, including "Why Do the Heathen Rage?," "The Enduring Chill," and "The Partridge Festival."

Her best friend, Betty Hester, received a weekly letter from O'Connor for more than a decade. These letters provided the bulk of the correspondence collected in The Habit of Being, a selection of O'Connor's letters edited by Sally Fitzgerald. The reclusive Hester was given the pseudonym "A.," and her identity was not known until after she killed herself in 1998. Much of O'Connor's best-known writing on religion, writing, and the South is contained in these and other letters, including letters written to her friends Brainard Cheney and Samuel Ashley Brown. The complete collection of the unedited letters between O'Connor and Hester was unveiled by Emory University on May 12, 2007; the letters were given to the university in 1987 with the stipulation that they not be released to the public for 20 years.^[8]

The Flannery O'Connor Award for Short Fiction, named in honor of O'Connor by the University of Georgia Press, is a prize given annually to an outstanding collection of short stories.

O'Connor was the first fiction writer born in the twentieth century to have her works collected and published by the Library of America.

A Catholic life[link]

From 1956 through 1964, O'Connor wrote more than one hundred book reviews for two Catholic diocesan newspapers in Georgia: The Bulletin, and The Southern Cross. According to fellow reviewer Joey Zuber, the wide range of books O'Connor chose to review demonstrated that she was profoundly intellectual. Her reviews consistently confront theological and ethical themes in books written by the most serious and demanding theologians of her time.^[9] Professor of English Carter Martin, an authority on O'Connor's writings, notes simply that her "book reviews are at one with her religious life."^[10]

Works[link]

Novels[link]

• Wise Blood, 1952
• The Violent Bear It Away, 1960

Short story collections[link]

• A Good Man Is Hard to Find, 1955
• Everything That Rises Must Converge, 1965
• The Complete Stories, 1971 —National Book Award^[2]

Other works[link]

• Mystery and Manners: Occasional Prose, 1969
• The Habit of Being: Letters of Flannery O'Connor, 1979
• The Presence of Grace: and Other Book Reviews, 1983
• Flannery O'Connor: Collected Works, 1988

Notes[link]

References[link]

Further reading[link]

• Harold Bloom, ed., Flannery O'Connor
• [GCSU], Postmarked Milledgeville: A Guide to Flannery O’Connor’s Correspondence in Libraries and Archives, Georgia College & State University, 2002
• Lorraine V. Murray, The Abbess of Andalusia: A spiritual biography of Flannery O'Connor (publisher page), Saint Benedict Press, 2009
• R. Neil Scott, Flannery O'Connor: An Annotated Reference Guide to Criticism (publisher page), Timberlane Books, 2002
• Melissa Simpson, Flannery O'Connor: A Biography, 2005
• Louise Westling, Sacred Groves and Ravaged Gardens, 2008
• Ralph Wood, Flannery O'Connor and the Christ Haunted South, 2004

External links[link]

• "Southern Discomfort", By Wendy Lesser Bookforum (Feb/Mar 2009).
• The Flannery O'Connor Repository
• Flannery O'Connor Collection at the Georgia College & State University.
• Postmarked Milledgeville Flannery O'Connor's letters
• Works by or about Flannery O'Connor in libraries (WorldCat catalog)
• Flannery O'Connor entry in New Georgia Encyclopedia
• Flannery O'Connor's Private Life Revealed in Letters – All Things Considered audio file, 6mins. May 12, 2007
• JCO on Flannery O'Connor Five O'Connor essays by Joyce Carol Oates
• "Flannery: A Life of Flannery O'Connor" A review by the Oxonian Review April 27, 2009 Issue 9.1
• Andalusia: Photographs of Flannery O'Conner's Farm." Southern Spaces, April 28, 2008. Glimpsing Andalusia in the O'Connor-Hester Letters." Southern Spaces, October 23, 2008.

Marion Harris
Marion Harris in 1924
Background information
Birth name	Mary Ellen Harrison
Born	(1896-04-04)April 4, 1896 Indiana, United States
Died	April 23, 1944(1944-04-23) (aged 48) New York City
Genres	Jazz, blues, pop
Occupations	Singer
Years active	1914—1930s
Labels	Victor, Columbia, Brunswick

Marion Harris (April 4, 1896^[1] — April 23, 1944)^[2] was an American popular singer, most successful in the 1920s. She was the first widely known white singer to sing jazz and blues songs.^[3]

Early life[link]

Born Mary Ellen Harrison, probably in Indiana, she first played vaudeville and movie theaters in Chicago around 1914. Dancer Vernon Castle introduced her to the theater community in New York where she debuted in a 1915 Irving Berlin revue, Stop! Look! Listen!

Recordings[link]

In 1916, she began recording for Victor Records, singing a variety of songs, such as "Everybody's Crazy 'bout the Doggone Blues, But I'm Happy", "After You've Gone", "A Good Man Is Hard to Find" (later recorded by Bessie Smith), "When I Hear that Jazz Band Play" and her biggest success, "I Ain't Got Nobody".^[4]

In 1920, after the Victor label would not allow her to record W.C. Handy's "St. Louis Blues", she joined Columbia Records where she recorded the song successfully. Sometimes billed as "The Queen of the Blues,"^[3] she tended to record blues- or jazz-flavored tunes throughout her career. Handy wrote of Harris that "she sang blues so well that people hearing her records sometimes thought that the singer was colored."^[5] Harris commented, "You usually do best what comes naturally, so I just naturally started singing Southern dialect songs and the modern blues songs."^[6]

In 1922 she moved to the Brunswick label. She continued to appear in Broadway theatres throughout the 1920s. She regularly played the Palace Theatre, appeared in Florenz Ziegfeld's Midnight Frolic and toured the country with vaudeville shows.^[2] After a marriage which produced two children, and her subsequent divorce, she returned in 1927 to New York theater, made more recordings with Victor and appeared in an eight-minute promotional film, Marion Harris, Songbird of Jazz. After a Hollywood movie, the early musical Devil-May-Care (1929) with Ramón Novarro, she temporarily withdrew from performing because of an undisclosed illness.

Radio[link]

Between 1931 and 1933, when she performed on such NBC radio shows as The Ipana Troubadors and Rudy Vallee's The Fleischmann's Yeast Hour, she was billed by NBC as "The Little Girl with the Big Voice."^[7]

In early 1931 she performed in London, returning for long engagements at the Café de Paris. In London she appeared in the musical Ever Green and broadcast on BBC radio. She also recorded in England in the early 1930s but retired soon afterwards and married an English theatrical agent. Their house was destroyed in a German rocket attack in 1941, and in 1944 she travelled to New York to seek treatment for a neurological disorder. Although she was discharged two months later, she died soon afterwards in a hotel fire that started when she fell asleep while smoking in bed.

References and notes[link]

External links[link]

Wikimedia Commons has media related to: Marion Harris

• Marion Harris at The Jazz Age
• Marion Harris at Red Hot Jazz
• Marion Harris at Allmusic
• Collected Works at Internet Archive

Sufjan Stevens
Sufjan at the Independent Music Awards, Webster Hall, New York City.
Background information
Born	(1975-07-01) July 1, 1975 (age 36)
Origin	Detroit, Michigan, United States
Genres	Indie folk, baroque pop, indie pop, electronica
Occupations	Musician, singer-songwriter
Instruments	Vocals, guitar, bass guitar, banjo, piano, xylophone, vibraphone, English Horn, oboe, drums, recorder[1]
Years active	1999–present
Labels	Asthmatic Kitty Sounds Familyre Orchard
Associated acts	Cryptacize, Danielson Famile, Denison Witmer, Marzuki, My Brightest Diamond, Rosie Thomas, The Welcome Wagon, The National, Nico Muhly, Bryce Dessner
Website	www.asthmatickitty.com/sufjan-stevens

Sufjan Stevens ( /ˈsuːfjɑːn/ SOOF-yahn; born July 1, 1975) is an American singer-songwriter and musician born in Detroit, Michigan. Stevens first began releasing his music on Asthmatic Kitty, a label co-founded with his stepfather, beginning with the 1999 release, A Sun Came. He is best known for his 2005 album, Illinois, which hit number one in the Billboard Top Heatseekers chart, and for the song "Chicago".

Stevens has released albums of varying styles, from the electronica of Enjoy Your Rabbit and the lo-fi folk of Seven Swans to the symphonic instrumentation of Illinois and Christmas-themed Songs for Christmas. Stevens makes use of a variety of instruments, often playing many of them himself on the same recording,^[2] and writes music in various time signatures. Though he has repeatedly stated an intent to separate his beliefs from his music,^[3][4] Stevens also freely draws from the Bible and other spiritual traditions, incorporating mystical elements into his music often.

Biography[link]

Early life[link]

Stevens was born in Detroit and lived there until the age of nine, when his family moved to Petoskey, Michigan. In Petoskey he attended the Petoskey High School, the prestigious Interlochen Arts Academy and graduated from Harbor Light Christian School. He went on to attend Hope College in Holland, Michigan and earned a Master of Fine Arts from The New School in New York City.^[5]

Sufjan is an Arabic or Persian name^[6] meaning "comes with a sword".^[7] It predates Islam and most famously belonged to Abu Sufyan, a figure from early Islamic history. The name was given to Stevens by the founder of Subud, an inter-faith spiritual community to which his parents belonged when he was born.^[8]

A multi-instrumentalist, Stevens is known for his use of the banjo, but also plays guitar, piano, drums, and several other instruments, often playing all of these on his albums through the use of multitrack recording. While in school, he studied the oboe and English horn, which he also plays on his albums. This multitude of instruments, including string and horn orchestrations, figure prominently in his compositions, giving his music a symphonic sound.

Stevens currently lives in Kensington, Brooklyn, in New York City,^[9] where he makes up the Brooklyn staff of Asthmatic Kitty Records.^[10] His brother Marzuki Stevens is a nationally recognized marathon runner.^[11]

Career[link]

Stevens performing at the Pabst Theater in Milwaukee

Stevens began his musical career as a member of Marzuki, a folk-rock band from Holland, Michigan. He also played (and continues to play) various instruments for Danielson Famile. While in school at Hope College, Stevens wrote and recorded his debut solo album, A Sun Came, which he released on Asthmatic Kitty Records. He later moved to New York City, where he was enrolled in a writing program at the New School for Social Research.

While in New York, Stevens composed and recorded the music for his second album, Enjoy Your Rabbit, a song cycle based around the animals of the Chinese Zodiac that delved into electronica.

Stevens followed this with the first album to be released as a part of his "Fifty States Project", a collection of folk songs and instrumentals inspired by his home state of Michigan. The result, the expansive Michigan included odes to cities including Detroit and Flint, the Upper Peninsula, and vacation areas such as Tahquamenon Falls. Melded into the scenic descriptions and characters are his own declarations of faith, sorrow, love, and the regeneration of Michigan.

Following the release of Michigan, Stevens compiled a collection of songs recorded previously into a side project, the album Seven Swans, which was released in March 2004.

Next he released the second in the 50 states project, titled Illinois. Among the subjects explored on Illinois are the cities of Chicago, Decatur and Jacksonville; the World's Columbian Exposition of 1893, the state's observance of a holiday in honor of Casimir Pulaski, the poet Carl Sandburg, and the serial killer John Wayne Gacy.

Over the 2005 winter holidays, Stevens recorded an album with Rosie Thomas and Denison Witmer playing banjo and providing vocals. In April 2006, Pitchfork erroneously announced that Stevens and Thomas were having a baby together, but were forced to print a retraction.^[12][13][14] Witmer and Thomas later admitted it was an April Fools' prank.^[15] In December 2006, the collaborative recordings were digitally released by Nettwerk as a Rosie Thomas album titled These Friends of Mine. The album was released in physical form on March 13, 2007.

On September 11, 2006, in Nashville, Tennessee, Stevens debuted a new composition, a ten minute-plus piece titled "Majesty Snowbird".^[16][17] On November 21, 2006, a five CD box set Songs for Christmas was released, which contains originals and Christmas standards recorded every year since 2001 (except 2004). Stevens undertook in the project initially as an exercise to make himself 'appreciate' Christmas more.^[18] The songs were the work of an annual collaboration between Stevens and different collaborators, including minister Vito Aiuto; the songs themselves were distributed to friends and family.

In April 2007, in Brooklyn and Philadelphia, Stevens made unannounced appearances on Thomas's tour in support of this album. In 2007 he did a Take-Away Show acoustic video session shot by Vincent Moon standing on a roof in Cincinnati.^[19] In 2007, he played shows sporadically, including playing at the Kennedy Center to celebrate the tenth anniversary of the Millennium Stage concerts.^[20] He was commissioned by the Brooklyn Academy of Music to create a "music and film work" titled The BQE, described as "a symphonic and cinematic exploration of New York City's infamous Brooklyn-Queens Expressway".^[21] It premiered at BAM's Next Wave festival on November 1–3, 2007.^[22] Stevens has also worked as an essayist, contributing to Asthmatic Kitty Records' "Sidebar" feature and Topic Magazine.^[23] He wrote the introduction to the 2007 edition of The Best American Nonrequired Reading, a short story about his early childhood education and learning to read titled How I Trumped Rudolf Steiner and Overcame the Tribulations of Illiteracy, One Snickers Bar at a Time.^[24][25] That winter, he hosted an "Xmas Song Exchange Contest" in which winner Alec Duffy won exclusive rights to the original Stevens song "The Lonely Man of Winter." The track has never been uploaded, and can now only be heard by attending private listening parties at Duffy's home in Brooklyn.^[26][27]

Stevens has contributed to the music of Denison Witmer, Soul Junk, Half-handed Cloud, Brother Danielson, Danielson Famile, Serena Maneesh, Castanets, Will Stratton, Shannon Stephens, Clare & the Reasons, and Liz Janes. In 2007 alone, Stevens played piano on The National's album Boxer, produced and contributed many instrumental tracks to Rosie Thomas's album These Friends of Mine, multiple instruments on Ben + Vesper's album All This Could Kill You and oboe and vocals to David Garland's new album Noise in You.

He has contributed covers of Tim Buckley ("She Is"), Joni Mitchell ("Free Man in Paris"), Daniel Johnston ("Worried Shoes"), John Fahey ("Variation on 'Commemorative Transfiguration & Communion at Magruder Park"), The Innocence Mission ("The Lakes of Canada"), Bob Dylan ("Ring Them Bells") and The Beatles ("What Goes On") to various tribute albums. His versions of "Free Man in Paris" and "What Goes On" are notable for only retaining the lyrics of the original, as Stevens has taken his own interpretation on the melody and arrangement. His rendition of "The Star Spangled Banner" has a similar rearranged melody and arrangement as well as a whole new verse.^[28]

His song "The Tallest Man, The Broadest Shoulders" was featured in the 2006 British comedy-drama Driving Lessons, starring Harry Potter's Julie Walters and Rupert Grint. In 2008, he produced Welcome to the Welcome Wagon, the debut album of Brooklyn-based husband and wife duo Vito and Monique Auito, The Welcome Wagon.

In February 2009, Stevens contributed "You Are the Blood" to the AIDS benefit album Dark Was the Night produced by the Red Hot Organization. In April 2009, Stevens uploaded a song about director Sofia Coppola online.^[29] This song was written while Stevens was in college, from a series of songs about names.

Stevens recalled:

"[...] A few weeks later, our dog got hit by a snowplow and I forgot all about the problem of names. Until college, when I learned to play the guitar, and, as an exercise, started writing songs (very poorly executed) in the same way that Henry Ford produced the automobile: assembly-line-style. I wrote songs for the days of the week (poor Monday!). Songs for the planets (poor Pluto!). Songs for the Apostles (poor Judas!). And, finally, when all else failed, I started a series of songs for names. [...] Each piece was a rhetorical, philosophical, musical rumination on all the possible names I had entertained years before when my parents had given me the one chance to change my own. Oh fates! I sang these songs in the privacy of my dorm room, behind closed doors, pillows and cushions stuffed in the air vents so no one would hear. And then I almost failed Latin class, my grades plummeted, my social life dissolved into ping pong tournaments in the residence halls, and, gradually, my interest in music (or anything divine, creative, fruitful, enriching) completely waned. I turned to beer. And cigarettes. And TV sitcoms. And candy bars. Oh well! A perfectly good youth wasted on junk food! That is, until a few months ago, when I came across some of the old name songs, stuffed onto tape cassettes, 4-track recorders, forgotten boxes, forgotten shelves, forgotten hard drives. It was like finding an old diary, or a high school yearbook, senior picture with lens flare and pockmarks, slightly cute and embarrassing. What was I thinking? [...]"^[30]

In September 2009, Stevens began performing four new songs while on his Fall tour, "All Delighted People", "Impossible Soul", "Too Much" and "Age of Adz".^[31] That year Stevens contributed to an album with his step father, Lowell Brams, entitled Music For Insomnia. The album was released December 8, 2009.^[32]

In November 2009, Stevens admitted to Exclaim! Magazine, in regard to the fact that he recently called his fifty-state project a joke, that "I don't really have as much faith in my work as I used to, but I think that's healthy. I think it's allowed me to be less precious about how I work and write. And maybe it's okay for us to take it less seriously."^[33]

In June 2010, The National's Bryce Dessner claimed Stevens is currently at work on his next full length album and stated the band is playing on the new album.^[34]

The Fifty States Project[link]

Beginning with Michigan, Stevens announced an intent to write an album for each of the fifty U.S. states.

Stevens spent the second half of 2004 researching and writing material for the second of these projects, this time focusing his efforts on Illinois. As with Michigan, Stevens used the state of Illinois as a leaping-off point for his more personal explorations of faith, family, love, and location. Though slated for general release on July 5, 2005, the album was briefly delayed by legal issues regarding the use of Superman in the original album cover artwork. In the double vinyl release, a balloon sticker has been placed over Superman on the cover art of the first 5,000 copies. The next printings had an empty space where the Superman image was, as with the CD release.^[35]

The widely acclaimed Illinois was the highest-rated album of 2005 on the Metacritic review aggregator site, based on glowing reviews from Pitchfork Media, The Onion A/V Club, Spin, Billboard, Entertainment Weekly, Rolling Stone, The New York Times, KEXP, and The Guardian.^[36] The 2006 PLUG Independent Music Awards awarded Stevens with the Album Of The Year, Best Album Art/Packaging, and Male Artist Of The Year. Pitchfork Media, No Ripcord, and Paste Magazine named Illinois as the editors' choice for best album of 2005 and Stevens received the 2005 Pantheon prize, awarded to noteworthy albums selling fewer than 500,000 copies, for Illinois.^[37] In April 2006, Stevens announced that 21 pieces of music he had culled from the Illinois recording sessions would be incorporated into a new album, called The Avalanche,^[38] which was released on July 11, 2006.

The next states to be taken on in the project have been reported as Oregon and Rhode Island.^[39] In late 2005 and early 2006 Stevens played a new instrumental track titled "The Maple River". There are various Maple Rivers in the U.S., in Minnesota, Iowa, North or South Dakota. There is also evidence to suggest the possibility of a New York album. Not only is Stevens's current residence in New York City, but at the footnote of his writing piece titled "Friend Rock", Stevens stated that he was reading a biography on Robert Moses, who is a notable New Yorker.^[40] In late 2007, Stevens debuted several new songs about New York, including "BQE", a track about the Brooklyn-Queens Expressway, one of many urban developments designed and spearheaded by Robert Moses.

Stevens made brief mention to a possible collaboration with Asthmatic Kitty labelmate Rafter on an album about California.^[41] Stevens also recorded "The Lord God Bird"^[42] about the reported sighting of an ivory-billed woodpecker, thought to be extinct, in Arkansas (known as the 'lord god' or 'great god' bird because of its breathtaking appearance). This was in connection with a National Public Radio piece in which "independent radio producers Dan Collison and Elizabeth Meister were curious about how Stevens writes his songs."

"Sufjan Stevens is not going to write a record for each of the 50 states after all" was the original text included on the online liner notes for their Mews Too: An Asthmatic Kitty Compilation disc released on February 7, 2006.^[43] This statement was possibly included as a joke, as the text has since been removed and the current liner notes related to Stevens reads, "18. Sufjan Stevens can fold a fitted-sheet (he once worked as a professional folder in a commercial laundromat)."

In an article published on February 24, 2008, in New York Magazine, Stevens implied that New Jersey could be the target of his next state project. After he gave a brief quote about the New Jersey Turnpike, he was asked, "So is this the next musical project?" Sufjan joked, "New Jersey, the musical—an ode to the turnpike."^[44]

The Guardian published an interview with Stevens on October 27, 2009, in which he stated in relation to the Fifty States Project: "I have no qualms about admitting it was a promotional gimmick".^[45]

[edit] The BQE

On May 31, 2007, Asthmatic Kitty announced that Stevens would be premiering a new project titled The BQE in early November 2007. The project, dubbed a "symphonic and cinematic exploration of New York City's infamous Brooklyn-Queens Expressway", was manifested in a live show. The BQE featured an original film by Stevens (shot in Super 8 mm film and standard 16 mm), while Stevens and a backing orchestra provided the live soundtrack. The performance used 36 performers which included a small band, a wind and brass ensemble, string players, horn players, and hula hoopers. There were no lyrics to the music. The BQE was commissioned by the Brooklyn Academy of Music as part of their Next Wave Festival and performed on three consecutive nights from November 1–3, 2007.

The performance sold out the 2,109 seat BAM Opera House without any advertising.^[46] After three weeks of rehearsing the piece with the three dozen musicians^[47] involved, he presented the 30-minute composition. The BQE was followed by an additional one hour of concert by Stevens and his orchestra. The BQE won the 2008 Brendan Gill Prize.^[48]

The multimedia package was released on October 20, 2009. The release included a CD of the show's soundtrack, a DVD of Brooklyn-Queens Expressway footage that accompanied the original performance (not a film of the performance itself), a 40-page booklet with liner notes and photos, and a stereoscopic 3D View-Master reel. A limited edition version that features the soundtrack on 180-gram vinyl and a 40-page BQE-themed comic book starring the show's hula hooping wonder women, the Hooper Heroes, was also released.

[edit] Run Rabbit Run

On October 6, 2009 Stevens' label released an album of versions of his 2001 album Enjoy Your Rabbit rearranged for strings and performed by the Osso String Quartet, entitled Run Rabbit Run.^[49]

[edit] All Delighted People and The Age of Adz

Stevens returned to recording and touring in 2010 after a hiatus—he's pictured here performing in 2011

In 2010, Stevens was featured on The National's album High Violet, released in May, and sang backing vocals for the band on The Late Show with David Letterman.^[50] Following the release of High Violet, band frontman Matt Berninger mentioned that Stevens was recording a new album in the band's studio and that The National would appear on some of the tracks. In early August, Stevens announced North American tour dates across dozens of cities. On August 20, 2010, Stevens suddenly and unexpectedly released a new collection of tracks, the All Delighted People EP, for digital download. The EP is built around two versions of the title track, "All Delighted People."^[51] The EP surprisingly rose to #27 on the Billboard 200 albums solely through its digital sales.^[52] On August 26, Asthmatic Kitty announced that Stevens would release his newest full length album, The Age of Adz, on October 12.^[53] NPR streamed the album until it was released on October 12, 2010.^[54]

The two albums featured a wide range of arrangements, from orchestral to electronic. Song lengths were also extended; the track "Djohariah" from All Delighted People is 17 minutes long, while "Impossible Soul" from The Age of Adz is 25 minutes long. The albums also feature many styles from disco to folk.

Stevens has stated in interviews that in 2009/10, he suffered from a mysterious debilitating virus infection that affected his nervous system. He experienced chronic pain and was forced to stop working on music for several months.^[55] He said: "The Age of Adz, is, in some ways, a result of that process of working through health issues and getting much more in touch with my physical self. That's why I think the record's really obsessed with sensation and has a hysterical melodrama to it."^[56]

On October 12, 2010, Stevens began his North American tour in Montreal, featuring virtually all new material. The tour lasted just over a month and ended on November 15, 2010 in New York.

Stevens toured Australia and New Zealand in early 2011, featured as part of The Sydney Festival, and appeared on-stage with The National during the last of three sold-out Auckland shows.^[57] He also toured Europe and the United Kingdom in April and May 2011, playing there for the first time in five years.^[58] His shows mostly consisted of new material, but he did play many older tracks from Seven Swans and Illinois. Stevens ended the Age of Adz tour with two shows in Prospect Park, Brooklyn, New York.

On February 27, 2012, it was announced Stevens would release a collaborative EP called Beak & Claw on March 20th with artists Son Lux and Serengeti under the name s / s / s on the Anticon record label.^[59]

Themes[link]

Stevens' stage shows feature elaborate lighting, costumes, and choreography

Many of his songs have spiritual allusions. He says he does not try to make music for the sake of preaching. "I don't think music media is the real forum for theological discussions," says Stevens. "I think I've said things and sung about things that probably weren't appropriate for this kind of forum. And I just feel like it's not my work or my place to be making claims and statements, because I often think it's misunderstood."^[4]

Such themes are most notable on his album Seven Swans, the songs "Abraham", "Seven Swans", "To Be Alone with You", "He Woke Me Up Again", "We Won't Need Legs to Stand" and "The Transfiguration" refer to Christian themes. In "Abraham", Stevens recounts the Old Testament story in the Book of Genesis. The lyrics of "The Transfiguration" appear to follow the Biblical accounts of Matthew 17:1–8, Mark 9: 1–8, and Luke 9:28–36. The title of "All the Trees of the Fields Will Clap Their Hands" is a quote from Isaiah 55:12.^[60]

During a 2004 interview with Adrian Pannett for Comes with a Smile magazine, when asked how important faith was to his music, he responded, "I don't like talking about that stuff in the public forum because, I think, certain themes and convictions are meant for personal conversation."^[3]

Sufjan's most recent music features less clear statements about religion and spirituality, arousing question of his current ideas on spirituality. In an interview released on October 12, 2010 (the same day as Sufjan's album The Age of Adz released), Sufjan confirmed he is a Christian.^[61]

Discography[link]

References[link]

External links[link]

This article's use of external links may not follow Wikipedia's policies or guidelines. Please improve this article by removing excessive or inappropriate external links, and converting useful links where appropriate into footnote references. (January 2011)

Wikimedia Commons has media related to: Sufjan Stevens

• Sufjan Stevens – official site
• Asthmatic Kitty – label page
• Sounds Familyre – label page
• Purevolume – official Purevolume site
• Sufjan Stevens – Rateyourmusic
• Photos from Town Hall
• Interview with Vish Khanna
• Interview with Sufjan Stevens by Gerry Visco, New York Press, "Give Me Your Ugly"
• "All Quiet on the Midwestern Front," Cover Story by Susan Moll, Stomp & Stammer, September 2005
• Sufjan Stevens performance from Austin City Limits, September 17, 2006
• Live concert from the Sydney Opera House, Sydney Festival, January 2011 Sufjan Stevens: "Age of Adz", Sydney Opera House, January 2011.